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Boston Public Library

Do not write in this book or mark it with pen or
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Revised Laws of the Commonwealth of Massachusetts.

This hook was issued to the borrozver on the date
last stamped below.

FORM NO. 609; 7.3I.3«: EOOH.

LIGHT: FINE ART THE SIXTH

See Trans. III. Eng. Sec, Vol. XIII, No. 7, Oct. 10, 191 S

A RUNNING NOMENCLATURE TO UNDERLY THE USE
OF LIGHT AS A FINE ART

MfiifJ^ i%^'

By MARY HALLOCK-GREENEWALT

U2A MASTER STREET

PHILADELPHIA. PA.

* Address delivered bsfore the Illuminating Engineers' Society April 19
1918, at the Ensiheers' Club,', Philadelphia, Pa,

^

w

HISTORY

ORK begun "circa" the year 1906.

First public rehearsal, Egyptian Hall,
Philadelphia, April 15, 1911.

First public concert, Perkiomen Seminary,
Pennsburg, Pa., February, 1912.

Second public concert, Dayton, Ohio, March
26, 1914.

Presentation before the Tenth Annual Con-
vention of the Illuminating Engineers' Society,
September 18, 1916

Address delivered before Illuminating Engi-
neers' Society, Philadelphia, Pa., April 19, 1918.

Underlying patents applied for 1918

LIGHT: FINE ART THE SIXTH
By Mary Hallock-Greenewalt

Copyrighted, 1918. by Mast HAiUXX-GRJiENEWAtT

It is humbly I stand before you and in this building. You
do the work; we artists come along and reap the fun. Fun, did
I say? And yet you, more than others, I think, would grieve at
the blind groping and wasted labor, the flapping around after
wrong trails, that has been gone through these dozen years of
really hard thought and really hard work on just a pretty idea;
labor which any one of you could have saved me, and all because
in nearly all this time I was not even conscious there was in exis-
tence such a thing as an illuminating engineer, and my finding
him finally was purely accidental.

My introduction to your vocation came as a result to the
following "spark": How utterly enchanting to present these
phrases of music, clothed with that colored lighting atmosphere
best suited to them! How utterly enchanting to present these phrases
of music clothed in that colored lighting atmosphere best suited to
them!

Atmosphere, in the general use of the word, so conditions, so
binds down the artist. If in a small gathering of a dozen people
or more, one unsympathetic auditor can destroy his capacity to
deliver,' how much is he capable of being attracted by so subtle
and supporting a surrounding medium within which to launch his
interpretations. Corot was ofty-three years old when he suddenly
realized the atmosphere was to paint, and then his fame came.
Other people had painted atmosphere; he staged it.

Sunlight makes the world sing, why shouldn't light help the
song sing.

The whim came at a given moment; the vision was of a cer-
tain instant, a juxtaposition of mental ceils heretofore foreign to
each other in my mind, and still foreign to each other, except I
deliberately exercise choice regarding their befng linked. Psycho-
logically, this is an important point to the question. Immediate

action followed the notion once gotten. There were mercantile
reasons surrounding "piano performance" which made it seem
possibly an assisting move to do this; besides, there was no idea
of the unending difficulty of the task.

There was light, to be sure, — I required light. Grasped from
the side of the aesthetic need, that seemed all that was necessary.
It was forgotten that difficult, huge, immense as the aesthetic is,
in its utter impalpableness it still must stand on a concrete base.
It cannot do without the engineer.

On the other hand, to take that material called light away, —
away from the useful, — and make it a sentient thing: use it as
poetry makes use of words, or architecture makes use of stone; to
turn it into an art that can play at will on the spinal marrow of
the human being, remind him of the Holy Ghost and the utter
sheerness of beauty, that is a labor which can be done only by the
artist.

To make light mobile to music, to put it in sympathetic union
with any other art, static or of succession, to give it speech of
itself, is as difficult to do for one whose lifelong training has not
been that of artist as it would be for a musician to alter the com-
position of a light, or for an illuminating engineer to play a piano
concerto with orchestra.

I have devoted a lifelong labor to music, and there is nothing
of importance I have ever done, outside of being a mother and
taking a charitable interest in the status of womankind as a whole,
that has not been connected, intimately connected with this art.
And it is on this standpoint: on the footing of that which only a
musician, only an artist could have arrived at, that I feel justified
in having encroached, if only with envious eyes, on a field belong-
ing, by every right, only to you.

Atmosphere — light, pure and simple — was always a part of
the idea; never the flat, never the two dimensional. It must be so.
The flat carries with it form, no matter how vague and transitory
the succession, and that is the picture. The province of light is
that of an all -enveloping medium which does not interfere with
forms or interject shapes not already in existence. In what way
does it obtrude itself on our attention then? Through its intensities.

I do not want to minimize, for a single instant, the glory which
I felt in the beginning, and do now feel, would come to the human

2

being on being able to view at the same time the wonders of tone
and the marvels of color, brought on wings of light and mobile to
the unfolding tone. But it was through the empirical, — through
experience, experiment, practice, — that was brought out the amaz-
ing value which varying intensities of light have as a means of
lending added significance to short-lived emotions, such as those
embodied in music. That varying intensities of light are the
important factor in enhancing the emotional expression, this is the
firm centre which conning the subject over for the last twelve
years or so has brought forth. If it were a question of one or the
other only: a mechanism controlling color, or one controlling inten-
sities, the palm must surely be given to the latter as the indispen-
sable factor. As mankind embraces womankind, however, so is
tint inseparable from light. Let us not seem to be ignoring the
one in speaking of the other.

Mercifully the world intervenes countless prisms to keep us
from forgetting the color while looking at the light. The atmos-
phere, the moisture in the air, the dewdrop, the sheet of water,
the pane of glass, the crystal, the precious stone, the things manu-
factured by man, turn the facet first on the violet and then on the
rose. The painter's eye loses not a glint. And so the selfsame
thing, according to the prismatic medium in which at the moment
it happens to be located, can be fashioned first in one color, then
in another, no one color carrying any one emotional attribute all
to itself. It speaks according to the relationship in which it is
found.* To the aesthetic question this is all important.

The attributes which make up any art are never few. Poetry
is such things as music is made of: accent, rhythm, tone color,
intensity, pitch. Painting is form, color, perspective, composi-
tion,— just to denote. But in every art; one attribute is, if any-
thing, more indispensable than another. The shiftings of time are,
for example, the life and breath of music; they give it its expres-
sion— they are its vertebra — intensity, the loud, the soft, being an
added asset.

Let us give the Captain of Industry, for once, his full due.
It was Mr. Pierre du Pont who, though placed at the forceful
centre of the world's affairs, still found time to note that the inten-

* Dr. S. L. Pressey: "The Influence of Color upon Mental and Motor Effi-
ciency." Harvard.

3

sity lever of his pianola alone did not make expression, whereas
the tempo lever alone did. But, then, the dynamic would not be
so novel to Mr. du Pont; the temporal, all must admit, keeps one
stepping.

In an art created by light alone, the intensities, the dark, the
light, their manner of success'^on, the fineness with which their
dynamic shadings are used, would be the all-important factor, the
indispensable; the breaking up of the light into its component
rays, an added, though very great, added element of beauty.

Physiological reasons are back of both facts.* It is the influx
of new blood delivered against the brain through the basilar artery
every so often a minute, that has gaited man's rhythmic art to a
certain range of portent speed. That range of time variation covers
all the conditions of exhilaration, sadness, quiet, repose which can
affect the human pulse, and is natureJly passed on analogically to
similar expressions used by him in the arts of succession. It has
been the nearest beat to us since we achieved being, and we natu-
rally imitate it in all the linked meanings it has subconsciously
taken on.

It takes no psychological laboratory to tell us that the changes
of light — the dark of the night, the bright of the day — have become
similarly inextricably woven into the experiences of man from the
time that he was only a bit of living protoplasm till now. Surely,
fear, gloom, foreboding, depression, mystery are connected with
the blackness of night, whereas hopefulness, joyousness, happiness,
stimulation are part of the brightness of midday.

But in spite of the commonplace of the theorem, let us quote
the Journal of Psychology. -j "Out of 389 observers, 237 note psychic
effects of depression more or less marked from the passing of a
cloud over the sun."

Did we speak of the amoeba? We have proof that the insect
also feels this that the psychologist found regarding man, for insects
change their day song into their night song on the passing of a
cloud over the sun, | and the tempo of their rhythms gets subdued

* See "Pulse and Rhythm" by Mary Hallock - Greenewalt in Popular
Science Monthly for September, 1903. "Pulse in Verbal Rhythm" by Mary
Hallock-Greenewalt in Poet Lore for the summer of 1905.

t January. 1903, page 73 (G. Stanley Hall and L.Smith): "Reactions of
Light and Darkness."

t " Stridulation of Some New England Orthoptera." S. H. Scudder. Boston
Soc. of Nat. Hist., October 23, 1867.

on that side of a hill where the moonlight is less bright than v/here
a sister choir is chirping.* . ^ .

Did we speak of the insect? We have proof that the flower
feels this that the psychologist fpund about raan. "The little
Leguminosa performs a sort of perpetual and intricate dance in
honour of light. Its leaves live in a state of rhythmical, almost
chronometrical and continuous agitation. . They are so sensitn^e to
light that their dance Sags or quickens according as the clouds y^l
or uncover that corner of the sky which they, contemplate. "f w,.;

If a fi.ower senses the changes in light that a mere cldud can
make, how much more can we make out of it. And how are we
"to make out of it." Purely it is only a matter of refining to the
nth degree something which is already in existence; refining it,
however, till the product begets as new and distinct a being from
what has gone before as any one thing can be said to differ in kind
and entity from another in this world. How has this been done
in the other arts? How does a child learn to VNraik'? By fastening
itself onto something else till it can go alone. Painting was first
hung onto things seen till it finally become a thing of itself. To
dance is the tapering of to walk. To sing was first a human cry.

The subtleties of light, spirit incarnate, can be v,-ell matched
in their ethereal beauty by one other thing: the shadings of sound.
Here can be made a fitting marriage of mates worthy one of the
other. Both are imponderable, vibrating atmosphere, vibrating
ether. What other two things can flow along changing wiik thai
which may be measured only by the sensitiveness of feeling, spiritual
enough to laugh at the impositions of matter?

But just how are they to be matched together? By what
logic? By vvhat fitness? We v/ill tackle the analogies later where,
through color, they become infinitely more subtle. Here let us
pose the fact that surely a sombre melody will suggest darkened
light, a happy tune brightened light; the high of m.usic calling out
rather the bright of light, the low of music, the dark of hght.
Since brightness stimulates the pulse of the human being as well
as the creature, since the pulse by subconscious anaiogy impresses
its tim.e variations on the rhythmic output of the anim.al and human

* "The Songs of the Grasshoppers," S. H. Scudder, The Am. NaL, Vol. II,
p. 113. May, 1868, No. 3.

"The Lives of the Flowers," Maeterlinck.

being so a direct scientific contact may be established between
brightness and the time rates of music but only as "the pavilion
covers all the merchandise."* We hasten to add that this sort of
pairing is the crude of the sum total. It is the crude, not because
high: bright, low: dark, happy: light, sad: dark, fast: bright, slow:
dark, are not perfectly sound analogies, to begin with, but because
choice, taste, those working means of the artist, can go infinitely
further. It is quite possible to decide on giving a background of
lowered light to high music and vice versa. It is possible to com-
bine light and music as one wills. The artist "saw it Was good."
That is the only necessity.

Let us show by illustration what we mean by fitting the inten-
sities of light to the emotions of music. Let me play you the first
movement of the "Moonlight Sonata," by Beethoven, so well fitted
by name and context for illuminating the point. I will play it
through only with a monochromatic light, fitting the dark and the
bright only to the music without change of tint.

The need of man for aesthetic expression has never been
stopped by poverty of means. I have in my possession a thin,
crooked, dirty yellow candle, not half so thick as my little finger
and primitive in the extreme. It came from a little church in
Tarsus, where such as itself — crude, simple rough, in bulk less than
a lead pencil — were raised by means of their light to the point of
expressing all the sanctity of the church and the beauty of holiness;
and this at that intense centre, the church's beginning.

Much can be done by even the manner of raising an eyebrow
or tapping on a table.

Whatever we may say further in this paper, it is always to be
understood that the instrument for expressing by light may be
made just as small or as splendid as one will or can.

(Here was played the Moonlight Sonata of Beethoven,
accompanied by varying intensities of monochromatic light
and no change in tint.)

* See Popular Science Monthly for September. 1903, "Pulse and Rhythm"
by Mary Hallock.

We have been dealing with the imponderable, acting on the
imponderable, with sensation playing on feeling. There is a
capacity finer still: that of arriving at conclusions through that
which one cannot see, v/hich one cannot feel, which one can only
think. Grind down abstractly with the brain, complete the circle
of knowledge regarding any one point, thing, or phase of a thing,
and the subject matter promptly tumbles into shape, and, most
important, the underlying mechanics necessarily simplify.

As long as this subject was seized from the color end, it must
have remained, mechanically speaking, a tangle, which no amount
of intricate light unit arrangement could have quite circumvented.
When the flower — the insect, called out intensity, intensities of
light alone can play on the sensations, then variegated colors took
their place as the ornaments to the idea and quantity stepped
forth as the essential. The mechanics, in other words, are intri-
cate beyond means, viewed from the necessity of handling colored
lights of myriad hues. The matter looks different when it is
seen that intensity gives the myriad shades, only so many times
multiplied by the seven prismatic colors or their three primary
tones.

The all-important factor, mechanically speaking, became, then,
the devising of a mechanism through which one could deal out
quantities of light at will as subtly as a violinist feels out timbre or
a singer gives forth overtones.

We have here devised such a control, represented by this
drawing, which we hope will fill every bill. I wish it could "foot
every bill." Its mercantile success would then be assured; every
person in this world would buy one. We have not considered
making it work by the feet, for this reason however: The length,
strength and heel support of the foot offers advantages no one will
gainsay. From the point of need which brought this drawing
forth, the controlling of light intensities by means of the air pump
principles has technical logic back of it. Any play of feeling set
going from within the human being, must take account of a give
and take as subtle in motion as that, conscious or unconscious, of
the lungs and heart, not to mention still finer sources of physiologic
perturbance

There is choice as to the muscular "feel" best suited to the
governing of an increase and decrease of brightness as sensitive as

7

feeling itself. It would be extremely difficult, for example, to hold
the hand up in the air for the length of time required while moving
a button over a aianate (space in a longispaniof tiine. ifi^iii vjiojjq.

'' ''A certin ampleness of action would be needed to take account
of all the whimsicalities, surprises, accents arid transitions which
light might be cailed upon to express.

Fluid pressure, hi^s.,been.c;hosen, because it offers fluid control.
The pump operates a friction drive, which, through the regulator
principle, cuts off or increases supply to light choirs, no matter
where situated, each of which is manned by its own rhotor-driven
resistance slide. These choirs can be single lights or massed lights,
lighting a fraction of a stage or an entire auditorium. The lights
may be manned by any sort of filter reqiiired— folliri^, shifting or
static, according to the fineness of resiiits aimed' fdrf''

It is, of course, useless to use any of the spectrum curves not
found ill. the tamp itself. The evening up of the defi^cient color
prpportipo^swjthin;, the light may be made up by the, t^se of lamps
of greater or less power, as the ray ^,- of, a given color are fewer or
greater.

It is certain that rarely beautiful, iilte:rs, colored. fcd'ntiguously
so as to isolate the .spectrum, colors ^ found w^ the lamp and

merging one into the other at the point of contact, can be made
out of glass, acetate of cellulose, or a noncombustible celluloid just
announced by a Japanese firm.*

A: thicker medium will give a better result than a. thinner, but
in every case the filter must be tuned to the lamp. .U J , '

A rolling filter, dy fed to syhchroiiize with the succeysioft's &i5<3rh-

panied, will still fiirther simplify the light units tised, as one is less

than three or seven:' '■''^' ^i-'-'-' ''-'■-'> ■'■■'' "- J-u>qqufe hrni unn iU^

■.Y7 T jc i'**^ r(.->ff{w b^^'f lo..lntoo grit ,rno-jH .ye

y^'e have found a spacing of five-sixteenths of an inch to every

beat pf music satisfactory even for a fifteen-inch lamp opening.

Fortunately, one unit of beat, not inelastic,, of course, underlies

all music. , ,

U.' ■■:.;■.:■. ■■■:!<^.-:i;.ui ;0 i:\.)Oi:)iiiU): ! ■ : ■:<Ati:t Dfti

>,:A.d*ania of. light aB.<£ sound alone undisturbed by object seit-
ting, can be gotten by playing on low intensities. 1 1 has appealed
to me to have the players and their ins|:f::Uni.ents out of sight.

* Refer to Darby a'lid Darby, 220 Broadway, New York.

Ih; other words, then, this drawing, now in the hands of the
Patent Office at Washington, no matter what the space illuminated
or amount of brilliance capacity used, allows of the increasing and
decreasing of light intensities, similarly to the manner ih which one
increases or decreases the loud and soft of music with a capacity
for timing suited to even the accents and sudden emotional transi-
tions possible, to i the dynamic shadings of sound or, any art of
succession; .1 ; . i ,

3ji{ j Simplifying, thi?, qijestion to dyn^jnic cpjitrol, m^k;^,^- jLjt^^ ^F?^

{ J^;^pply light; to, ijiercantile :proposi^ioji§. , We hay^-^^jt;^., a,s^(?(^jjd

drawing, showing the use of tracker board and rolling perforated

pape.i* for ^ttainipg lighting ends. This priricipip can.^^sily |^^ uged

witii piapolaSj a^olian? and Jike mephanical ins.tjruin,^pt?j^il^y^^,|!:iee^

.,j%jnQ sjensje,, be confined to, ^hein. bg7olo-~'

'■^•'•'It is proposed to use with the phonograph ;the principle of

revolving color discs for attaining light effects, the blades of

transparent material in desired prppp?taons,^-^qv;oiyi]^^.Qyiqr lights.

{C:hangeable for desired tints.

V70]-l ^/lOlo

niloh.ii one could dream, one could conceive' .cifiainaGhiihe, blades,
lights, placed in loveliest alabaster, a. ./'light" home for rich
overtones. Parchment, glass, acetate of cellulose, or like materials,
offer makeshifts for the richer material rnentioned above. The
lids to many mechanical instrurri^riti^iijstaJjd in the position of
reflectors, arid,,?nai}y, of, t^bi^ii^ ,ca§^ ,nee4 i^pj: -be ■ altered, iJjof.tV^a^
of space. ■.■..-...■.■>;■'' ■'■ ,.;o: ■ .;;!-.. !,.i ,■;-.■■, -•-.■:..•., ,,.,._ ,■,.(•-.'(

A cunningly devised nomenclature is really back of the amaz-
ingly intricate development of the art of music. Certainly one
art, that of poetry, has suffered on its rhythmic side, at least, for
want of symbols invented for orderly purpose. The rhythm of

iLatin prose has been entirely lost for want of it.mt}/.iJ9J- — itmhoila
' Rather than err on this side, let us at once suggest d. rio'riieh-
clature to guide in the repeated use of light as an art, and to hold
fast that which one may have already gotten. By its means the
same sequence of light play may be used by different individuals
in different parts of the world, and a repetition of light effects
once gotten could be had without the time spent and trouble
undergone on reconsideration of the same problem.

Sensation can make use of gradations infinitely finer than
those called for by everyday use. The time variations which make

Oi9

expression in music, for example, are so fine as to be only felt,
scarcely to be measured. Degrees of darkness, in none of which
objects could be plainly seen, would not count in daily life. They
could speak with the resonance of a cannon in this art.

We subjoin the thesis: A Nomenclature to underly the use of
light as a Fine Art.

I think that the fitting of the intensities of light to the play-
ground of the amphitheatre, even to an art as subtle, abstruse
and artificial as music, would be subscribed to by anybody. The
subject arouses greater debate when it is said that these emotional
subtleties can find their analogies in color; and yet, of the two,
the latter offers the subtler phase. But, then, that is according as
to whether one likes the monochromatic drawing as well as the
variously colored print or not, not forgetting the supreme pre-
eminence in beauty, which light in itself has over all other media
of which art now makes use.

How can a phrase of music suggest a tint? How can a note
suggest a color? How can a whole piano in its entire scale suggest
a color different from that of another piano? How can a violin
suggest a color different from that of a trumpet? How can one
person suggest a sheep while another suggests the cat, or even an
elephant or seal? Why is analogy?

There is a whole literature on color audition and kindred
associations. Here are a few words out of one short pamphlet of
fourteen pages only, labelling them:* " Synaesthetic — a person
whose thoughts are colored." " Psychochromaesthetic — a person
whose mentation is chromatic." Think of this, "once," — a per-
son whose whole mind is colored; where would the things colored
come in? "Tastephotism — odorphotism — touchphotism — pain-
photism — temperaturephotism." Here the eye goes and the ear
comes in, and, of course, the same could be repeated with every
other sense and senses combined: colorphonism, odor-, touch-,
temperature-, painphonism. 1 suppose this is a learned literature.
Let us, just for fun, tear it in two right here and throw it in the
scrapbasket. The whole brain is one associated or linked sensa-
tion. The whole world could scarcely hold the books on the subject,
for language itself is made up of it. When we say " good " morning,
loud" clothes, "swearing" colors, we are linking sensations.

* "Colored Thinking and Allied Conditions," Science Progress, 1914.

10

When a Frenchman calls a baked potato a potatoe in its dressing
gown, — "pomme de terre a la robe de chambre," — he is doing
"some" linking of sensations. "Some" linking, slang though it be is
"some" example of itself. A little colored girl, nine years old,
came into a room where a bunch of pungent paper narcissus stood.
"My, Miss Anna," she said, "but these flowers do smell out loud."
She was linking sensations. The city banker's son was described
at the moving picture show as a "high stepper whose neckties
sounded like a bread riot." The thing harks back to the cate-
gories,* to those attributes which underlie all things: quality, quan-
tity, extension, weight, time, space. Similar qualities can link
remotely dissimilar things. A heavy disposition is like lead.
Should this linking of sensations become inevitable — not to be
rid of — like the constant sounding of the note A in the great Schu-
mann's mind after he had worked his mind to death for our bene-
fit, then the matter becomes sad, becomes different, because it is
a sign of deterioration, or disorder, in the mental mechanism. If
you had to see a peach every time you said a girl was a "peach,"
that would be sad. But to exercise choice deliberately between
the fitness of this with the fitness of that, to enhance this of a
certain quality with that of a certain quality, surely that is one
of the glories of the human mind. It takes no reach to include
music and light in the play

As a simple sample of how intensities and tint would inter-
play, let us go back in thought to the first phrases of the Moonlight
Sonata. We are satisfied with quantity of light until the melodic
note ushers in a new factor. The stage has been set. The prima
donna appears. Who is better fitted to the role than a color? But
here, ah here, the intense — the real labor of the artist begins: to
exercise choice while all the threads are kept firmly held. Behold!
A phrase, a color, just this, — but here is the way it would go:
Shall I give this melody a pink? The notes are pungent, clear,
sharp, not high, in the middle. Would a clear blue have sufficiently
these qualities? How high a pink shall it be? and just what value?
What average of the color shall I strike that I may take its paler
shades for still higher melodies later? Where will the color begin
and where cease? How frequent can the changes of intensity and
tint be and not tire the muscles of the iris and the nerves of the

* Kant's "Critique of the Pure Reason."

n

retina? And so it goes. The exercise of choice while holding ori
to all the threads is the only thing to lead them to the successful;
conclusion. . ,•

.Ifity the artist and be very kind to him or her, Th^re is no
limit,,, tOv the; »unib^r of threads ,t;p,be held, and the manne?'; jof
handling the same thir^g differ^ with ej^^^f .in^ivi^Jp^l ,^n4,Kwit|p
ev^ry moment,, ,,, r:o;-i ■, :, , -vv^^^r. ■■■'--•■.;>-: ^-vr----: v.-O U\

">? -Theit; too,* color itself has its own ideas, its own wh'mbicalitiieS'.<
It^iS' the worst sort C)f capricious chameleon, taking on a different;
hue according as to what is put next to it or before it. Memory isi
too strong for succession to escape the taskmaster who holds sway
in the contiguous Use of color," 'jThe'Slter imp!ress!«>n' is «imiiltarieoys'
thougii made-in succession. *i'^j' ^-^ anfbauOd Jfi.o:;no:; ^iyi ^Ai:- to L>n

One doep not forget the spoilt phrase In the omerwise pe'ffect)
interpretation. There is nothing autocratic about this choice of
intensity and hue for any given work; no more so than that each
person should wear but orie color dress. Art means the filtering
through the individual, "a|ia, jii'st' as each individual differs frorn
another, so would the exercise of choice in one differ from the exer-
cise of choice by another. There is no organic necessity between
the interpretation and the thing iriterpretedi. You have seen how
we can do the Moonlight Sonata monochro'matically in any of the
tints, and just so variously can choice differ in differerit individuals
f<5f nth,©; selfsame composition. Not only this, but the same indi-,
vidual would clothe differently different interpretations of the same
work. The same symphony under one conductor has a different
entity from one of itselves under another baton; and both may be,
in their way, equally beautiful. A certain fitness there must be,
that the physiognomy be not distorted. A noble thing turned into
a jig ceases to be itself, and vice versa.

The exercise of choice, backed by that which is learnable, is-
the one master in art, light and color not excepted.

You see before you what we have gone through in arriving at
a fitting light accompaniment to four short pieces, ail of them
together not taking more than live minutes to play. Future work
will, of course, be infinitely easier in comparison; the mistakes, at
least, need not be repeated.

* "Time Eternal" by Mary Hallock-Greehewalt.

12

The underlying work for these light interpretations began in
the year 1 906, first with the careful study of the composition to be
interpreted, looked at from the light support viev/point. With
that as a basis, the piecing of gelatin films together, accoi-ding to
the succession determined upon undertaken, and the crude reel
made. The imposed layers by turns intercepted and nullified the
rays, and we turned to the stei-edpticon, thinking the fault lay with
the lack of lens. Then follow^ed the carefully planned oil painting
as a basis for the stained photographic film, and again a crude
mechanism. Five-sixteenths of an inch was the space' marked to
every beat of music. That the same elastic unit of beat underlies
allmusic helped considerably. By this time a non-inflammable
film was allowed on the market. Pastels of the tints approximatirig
what was wanted were prepared, and the acetate of cellulose dyed
accordingly. This was made fifteen inches v/ide to go- in front of
a light unit with parabolic refiectcr, which gave very good results,
of which you will be able to judge in a few minutes.

The tungsten light seemed to yield so pooi- ^'bltie tliat it was
thought a condenser, by bringing the rays closer, would help, and
a light unit was developed v^^ith mirror reflector behind and con-
denser in front. I think that eventually both condenser and
reflector units will be used for self-evident reasons: the pointed
brilliance and the mellowed softness both have their speaking
value. '^^ ^«^ ;■

1 1 was the constant necessity of playing with shadov/s on these
tinted sequences that brought out the all importance of the dynamic
in the use of light as a fine art. It was helped to a sound base by
my researches in "beat" or tempo.

The loveliest fine art of all will be this, the sixth to come into
existence. With what strength it will speak, compared to the
powers held among the others, no one can foretell. We prophesy
for it a place among the first.

The manner in which the problem was tackled, as described
above, is proof, I think, that the notion was original to myself.
I had no knowledge of any labor, even remotely parallel, till after
notice of my work had seen print, and then what had been done
seemed not in the slightest to affect or interfere with my particular
vision of it. Indeed color and music have been so here and there
bandied about together because it happened to be the vocation of

13

that individual launching the idea. Had I been a reader of epic
poetry or a pantominic artist this fine use of light would have
been launched in conjunction with these arts since the categorical
connection between light and music is no more than between light
and any other art.

My press notices record a performance of mine of music done
to a mobile lighting accompaniment, April 15, 1911, at Egyptian
Hall, Philadelphia. The article which refers to this performance
appeared in the Philadelphia Press, Sunday, March 12, 1912. It
is this notice which, multigraphed, was sent to the leading news-
papers of St. Petersburg, Rome, London, Paris, Berlin and other
large centres of the world, as part of the publicity done to prepare
the way for a continual tour as pianist which my managers felt I
could expect. As it was, I did tour extensively that season and
the next, and only the war prevented the Australian trip next
scheduled.

The copy sent to the New York papers bore fruit in references
to my work in light in an essay on the title "Seven Arts" by Mr.
James Huneker in Puck, and in his latest volume of essays. Proof
that the notices sent to other parts of the world saw print is held in
the fact that some three or four out of several dozen were returned
unopened for want of sufficient postage. In many cities abroad
"punishment" money has to be paid in addition to the insufficiency
due, and it is to be expected that where a paper has paid money
for the receipt of a communication, it will use what it has had to
pay for. One of these returned letters with notice was saved for
future copy and is subjoined.*

1424 Master Street,
Philadelphia, Pa.,

April 3, 1912.
* Dramatic and Musical Elditor of Journal De Bruxelles,

Independence Beige, Belgium.
My Dear Sir :

It is through the advice of Dr. Talcott Williams, Associate Editor of the
Philadelphia Press, and recently chosen as the first director of the Pulitzer School
of Journalism of Columbia University, New York, that we venture to send you
the enclosed notice at this time.

The details of the work have never failed to interest keenly the men and
women with alert minds to whom they have been presented and on that score
we hope you can give the paragraph prominent space.
I am.

Respectfully and indebtedly yours,

(Signed) F. L. GREENEWALT.

14

I played with a prepared mobile lighting accompaniment in
Perkiomen Seminary, Pennsburg, Pa., in Feb., 1912, and in Day-
ton, Ohio, under the auspices of the new Young Women's Christian
Association March 26, 1 9 1 4. On September 2 1 , 1 9 1 6, at the Bellevue-
Stratford, Philadelphia, — it is quite the most beloved performance
of my life, — I played some numbers of music with mobile lighting
accompaniment before the yearly convention of the Illuminating
Engineering Society. I consider the results obtained in the Chopin
"Prelude No. 2," the Debussy number, "And the Moon Descends
on the Temple which was," and the "Turkish March" by Mozart
at that performance as successful demonstrations of this art.

{Note Continued)

THE PHRASES OF MUSIC SHOWN UP IN BECOMING COLORS

Mary Hallock, pianiste, insists laughingly that it was in emulation of the
mis-en-scene surrounding and assisting the opera stars, that started her using
a color lighting accompaniment with some of her piano interpretations. Her
labors in this direction, however, have been so subtle and painstaking, have
represented so much work that this was only the occasion, the cause lying
deeper in the consciousness, that the harmonies of sound appealing to a single
sense could well stand the simultaneous re-inforce of an appeal to sight eis well.
Surely "the stars helped and the sea bore part" in a notion which clothes every
beat and bar of music with a lighting atmosphere fitting to it and changing
subtly with the moods and phases of the bars as they pass.

It dated from a suggestion made as far back as 1906 by a gentleman of
long experience and critical authority that Miss Hallock play the "Moonlight
Sonata" with a quasi-scenic setting such as a rising moon and cloud effects.
This gave birth to a verity infinitely more subtle that each quality of phrase
could be enhanced by the proper degree of light or dark as well as color best
approximating its inward content, not exterior panorama. The temperament of
one person will suggest a gray dress, whereas, to another red would be more in
keeping. In this analogous way every phrase of a composition will hint at a
sympathetic color lighting atmosphere of this or that value.

As to the value of a setting is impalpable as the tone vibrations themselves,
no one who has heard a piano recital, with the sun sending its parting rays through
the windows of a Chapel or Hall can doubt.

This idea has been worked out by this pianiste with an exactness which
took account of every beat or bar in a given composition so that metronome
marks and ritards were carefully accounted for in the color mechanism.

Four short pieces were first chosen with regard to distinct and favorable
contrast. Two of them are by Debussy, the third is the inexpressibly dark and
tragic second prelude of Chopin, and last, but not least, the Turkish March by
Mozart. Of the two last the March is pitched, as one would expect, in bright
red and blue, purple and gold; while the Chopin prelude suggests all that color
found in the depths of the sea, — dark greens and browns, the repellent and the
sombre.

One good result from this labor will be the elimination of those glaring
chandeliers, torturing the eyes into a headache the next morning after every
concert. The first tentative rehearsal was given in Egyptian Hall, Philadelphia,
Pa.. April 15, 1911.

15

It is well known that it is the crying envs'- of a painter's soul
to coine '45^' near; matching the essence' of light with the pigment
on his canvas as he can "Whether playing Math light will easily
give splendors and richnesses of darkness as well as light hereto-
fore only' to be dreamed of dahrtot be determined without further
practice. It is hard to irnagihe how one can get those singing
biowns and blacks of Whistler which one feels would be fitted to
the detonations of the pipe organ,' without the special Mtention
of a painter turneid Ori the filter. Certainly a master colbrist would
be needed with the brush and sprayer to get the mixed richness and
quality worthy of the vi^ord'^Wind' atid' sti'irtgs/-thfe'-b'fa:SS?''and tyni-
pani. I think the day will come when great artists will vie with
each other in getting out these rolHng screens. In these they will
not be copying the prismatic Ta.ys; they will be coloring with them.
Care only must be taken that the rays be proportioned' rightly for
the painter's use, that no quality missing in the light will render
their beautiful labor ' incompletely. ': No, 'color 'knowledge cari''ge't
more out of a light than already exists in it. Every ,kn>eiWB/ in:^|«l!Jl^
ment has its irremediable disadvantages however. "\^*^'' »-"9^ f*'"*^

To fJter or not to filter, that is the^ 'queBtion which should
determine the composition of a light. This lovely side of the sub-
ject of filter ituned to:light, and light tuned to.filter, is, worthy tt^e
attention of the ki^gs of illumination. What woman is not corf-
stantiy looking out for, a king? ...a,q '^di -^d 'L^^nntU ^d b£oi

It IS, after all, only a matter of tuning lip to'tKe sev^ii pflsmSfii;
shades; found in a light unit and determining the combined propor
tions of which they are capable. The light laboratories may see
this taken away from them into the chemical laboratory. I v/ould
prefer a prince of illumination. He at least can dye easier than the
chemist can alter the composition of a light.,/ as^ad isd i5j>bi e;

We beg to announce the matter as being in tliefoiiowmg shape:

A running nomenclature for recording intensities of lights
and tints.

A mechanism for controlling these intensities of light, with
all the smoothness and time considerations required by the arts of
succession, or any similar stage requirement. This may be used
with lights, single or in choirs, the prepared rolling or shifting
filters to be kept in the required unison, where necessary, by syn-
chronizing meters

16

The tracker board and perforated principle as another control
of kind and quantity of light. This is to be used in part v/ith
pianolas, aeolians and such like mechanical instruments.

Color discs, proportioned for any re<5uired tint, and revolving
over lights to be used in conjunction with phonographs, automatic
changes in the light units gotten through perforated cards, and
changeable with every record.

" Since Nev/ton's tim.e, a table of approximate ratios has been
sought between the seven notes of the scale and the seven colors
of the spectrum. As a working basis, it would be possible to take
any succession of tints as a formula. Whether they approximate
in ratios or" notrhas iidt thfe least to do with it

To seek to fasten the form of one art on the form of another
art, is, on the face of it, a miistake, if not an im.possibiiity. They
are organically different things. They will speak in different ways.

Light, in its very nature, is an atmosphere, a suffusion, an
enveloping m.edium. To give it the sharpness of short succession,
as Vidth the notes of an instrument, is inconceivable. To give it a
formful image on the flat, turns it into a kaleidoscope. — certainly
not a new thing. To play with intensities of light and tint ^^ ithout
forcing them out of the groove to which they cling, that will be a
new jo3^ for the artist as it once was the Creator's.

{The address ended with the playing, with colored lighting
accompaniment, of Debussy's "And the Moon Descends on
■writhe. Temple which iOias ")

17

A NOMENCLATURE TO UNDERLY THE USE
OF LIGHT AS A FINE ART

Patent applied for. Copyrighted, 1918, by Mary Hallock-Greenewalt.

A hieroglyphic, a symbolism, a denotation designed for the
orientation of artists is a necessary adjunct to any art of succession.

A nomenclature underlying the use of light as a fine art similar
to that used on the music page for recording music is necessary
to this art's perpetuation and growth.

It will give written equivalents for a new kind of aesthetic
creation. It will record for future performances of the selfsame
sequence.

For obvious reasons a new art cannot make use of a notation
already in use by another art. It is a different thing, using different
medium, based on different laws expressing through a different
sense.

Light is no more m.usic than it is articulate language.

The letters of the alphabet, the written symbols which stand
for language were of unconscious and gradual development. A
musician may all his life not know the number of vibrations in any
note he has ever played

Since we are consciously and so fully as possible, for a first
step, planning a new nomenclature, let us put as much intelligible
knowledge within its symbols as possible.

Compactness, care of the line space, the width, space is neces-
sary. These marks may be called upon to wedge between the
staves on the music page as an accompaniment to the music or they
may underlie the dramatic line for similar reasons

To begin then: the main attributes of an art made up of light
alone are: brightness, hue, saturation, time, — as time must be a
speaking part of any art of succession — and space, as light is a
thing for sight.

Since hue and saturation lie, as it were, in the lap of bright-
ness, such a nomenclature must take care of the dynamics of light:
the bright, the dark, first.

For reasons stated by me elsewhere (see Trans, of the III. Eng.
Soc), Vol. XIII,, No. 7, Oct. 10, 1918, intensity is Hght's main,
its indispensable attribute when used as an art,

18

A table of brightness, from the threshold of vision to a high
light yields twelve space numerals. From one hundred lamberts
or one hundred thousand millilamberts to the one-ten-thousandth
of a millilambert we get the unit and eleven ciphers — 100,000,-
000,000. Such an array of spaces may well be made use of to hold
much that may be needed by the occasion. It makes a base carry-
ing within itself a certain amount of definite fact regarding the
medium to be used.

Decimal places and their figures can, in conjunction with a
calibrated and similarly marked resistance slide placed conveni-
ently at the manipulator's disposal, give any intensity desired
but, as a nomenclature for the art, symbols to represent hue and
saturation must be added not to mention still more cunning marks
of expression.

We will therefore turn the ciphers into squares to give them
four cornered room as well as be easier on the following eye, and
mark the decimal commas and periods in such a way as, without
dropping beneath the line, they w'll allow the ellision of those
ciphers or squares not at that point needed for giving either the
quantity of light or its color.

We then get the following:

inn'nnn.nnn^nn i

Each comma must have its own distinguishing direction to allow
of the elimination of useless spaces.

If only the hundred thousandths of a millilambert be needed,
then the comma inverted toward the left and three last spaces
will be all sufficient — * HH |

If the tenths, hundredths, and thousandths of a millilambert
are wanted, then the decimal point and what follows only will be
required — • XXXX \

Numerals and their value whether the ciphers are squared or
no, used in conjunction with a calibrated marked and measured
resistance slide will, of course, as we have said, give any light
intensity desired, from the threshold of vision placed for blue and
violet at .000012 millilamberts to a high brightness v/hich in scien-
tific reckonings has been taken as high as 100,000 millilamberts
or 100 lamberts. In an art, however, the manner of using these
intensities in their capacities for a gradual and insensible increase
and decrease of brightness is all-important.

19

So sensitive must this use of intensities be that though the
increment of least perceptible brightness has been measured at
even varying intensities of white light and the spectrum colors,

expressing with Hght like expressing with time in. music will come
with nuances which can be but felt though scarcely measured.

Whilst colors, like notes, are of distinct and definite demarca-
tions one from the other, the attribute inseparable from light's
power for emotional speech lies in its capacity for an insensible
increase and decrease in brightness. It is so, that the day comes
and goes; it is so connected with our capacitj'' for a suggested
feeling induced by it.

The use of the numeral and its similarly m_arked slide will
denote for repeated use and. uses just where the play of different
increases and decreases of light shall begin and end. ,',i;:.,,,.,(;, ■,
,. , Other marks will.be needed to , show , Aoa; these "crescendos"
and " decrescendos " of light intensities shall .grow or ebb: the time
such, change shall take: how a uniform light shall remain for a
given span: how the sudden accent of dark shall be asked for in a
symbolism put on paper to represeiit such desired result.

There is no single word in the English language which takes
the place for a gradual increase of light, of: the word "crescendo"
as used for a gradual increase in loudness in music.
,, |;, There is the word brightening, to be sure, but this answers
for silver polish, too The word "darkling" exists for a gradual
decrease of light intensity and to give it its complemental mate
we cannot do better than coin the word "brightling" for its reversed
meaning.

No line symbols could be better for these two words than the
forked lines used to represent the crescendo and decrescendo in
music.

The amount of light said to stand at the threshold of vision
for blue rays is, as we said, .000012 millilamberts; the amount of
light given for exteriors at n-ght is 0.001 millilamberts.

.suppose, then, a mark were wanted on paper to denote a
gradual brightening from the threshold of vision to a bright twi-
light. According to the nomenclature planned forked Tines from
one to the other would denote this.

If the opposite from twilight to the threshold of vision be
wanted the figures and lines would be reversed.

2®

If the same even light were wanted previous to or after this
swell of light, a stredght line could denote it.

An even light held at the he'ght of an increase and ebb could
be logically expressed by straight lines: A sudden bright accent
thus: A and a sudden dark accent thus: \/ It may be that the
light will be wanted brightening in waves or billows when curves
in the lines would mark on paper the desired effect.

The play of loud and soft is a secondary attribute of the art
of music. The play of increase and decrease in light is the indis-
pensable attribute of an art made up of light. For this reason there
will be many variations of the forked lines which are found all
sufficient for the crescendo and decrescendo of music.

The numerals giving the mechanical quantity are, of course,
all important as a part of these marks and indispensable to their
guidance.

Hue: —

Hue is brightness broken up into its component rays. Let
our square ciphers and their forked lines then be as cups to hold,
not only the intensity, but the color denotation also.

The primary colors are three. It is well known that any hue
may be matched by combining the three primary colors: red,
green and blue in proper proportions. But let us take the six
chief spectral colors: violet, blue, green, yellow, orange and red, so
doubling this primal quantity and build up our color indicators
on them. Our marks, governing the intensities of light, became of
use through their conjunction with a controlled and similarly
marked resistance slide. The color must be gotten by means
independently of this: that is, by means of filters placed in front
of the light units and equipped with long distance control. Let
us conceive then of a filter which in itself can by successive dyes,
filter these main spectral colors according to its position in front
of the light. If now the dye governing the filtering of one color
be merged into the dye governing the following one, we could get
out of that one screen violet, violet-blue, blue, biue-green, green,
green-yellov/, yellow, yellow-orange, orange, orange-red, red and
red-violet or twelve colors. These colors made less saturated by
three steps of white would yield: twelve hues plus thirty-six tints
or forty-eight colors. Our intensity control would at every step

21

of intensity give forty-eight new tints or colors so that with con-
trol of saturation to be spoken of later, our twelve spectral mono-
chromes can yield an infinity of shades or certainly as much as
one could wish. It then remains for our squares to hold between
them twelve or less symbols. We say less for such reasons as that
red and green makes yellow, therefore a yellow symbol could be
made up by a combination of the green and red symbols. We
know that the eye irrespective of intensity and saturation can per-
ceive twenty-two hues but this is the laboratory research extreme,
moreover, combination of the same six symbols will yield these
also.

Colors complementary to each do not make a new color.
Not only this but the spectral color available in artificial illumina-
tion is not unlimited. The tungsten nitrogen-filled lamp has, com-
paratively speaking, much red and very little violet. The latios
are as follows: 751 of red to 233 of yellow, 103 of green, 68 of
blue and 39 of violet or circa: one of violet to two of blue to three
of green, to seven of yellow, to 21 of red. The violet of even a
very strong light is only just perceptible. A variety of propor-
tioned symbols for violet, for example, need give but little trouble.

Let us now go back to our squares and conceive of them as
divided, if necessary, subdivided, each division colored to denote
a hue. Three of the squares could give all manner of four com-
binations to the three colors and twelve squares not to mention
the forked lines would thus certainly give the necessary symbol
space for getting at the twenty-two hues which the eye can recog-
nize irrespective of brightness and saturation change.

It is also to be remembered that it is not a question of paint-
ing forms, but of tinting brightnesses.

Since color printing is expensive let us use arbitrary symbols
in black and white as a possible substHute in place of actual color.
Let us not multiply symbols but take those already used by her-
aldry. My choice would be to keep the graceful names — or,
argent, azure, gules, purple, sable, vert. We can keep also the
charming names "sanguine" and "tenne" for blood-red and orange
but must give them the symbols combined which result in the
colors, as vertical stripes with dots is red and yellow for orange.
Since there must also be a unity in the repetition of tinted light-
nesses and tinted darknesses as the same phrases are repeated in
a composition so we can also use the heraldic phraseology, "of

22

the field," "of the first," "of the second" for repetitions of the
same effects.

Let a square with dots inclosed, say, stand for "or" or yellow;
white square, argent or white; square filled with horizontal lines,
azure or blue; square with vertical lines, "gules" or red; square
with slanting lines from right to left, "purpure" or purple; square
squared, sable or black; square with slanting lines from left to
right, vert or green.

When then, a numeral holds a horizontal lined square, the
long distance control of the filter in front of the light moves this
filter to the point where it filters out the blue rays, the whole
numeral acting through the resistance slide governing simultan-
eously the depth or shade of blue, and similarly so on for all colors
and all shades. For example:

The threshold value of brightness sensibility for blue is
0.000012 millilamberts. The threshold value of brightness sensi-
bility for green is 0.000017 millilamberts. The threshold value of
brightness sensibility for red is 0.00056 millilamberts. In our
terminology when the above results are wanted, the first quantity
or blue threshold value would be denoted by a square marked with
a blue symbol, the second by a square marked with a green sym-
bol, and for the third by a square marked with a red symbol. In
all these the numeral plays through the resistance slide while the
symbols held within the square or squares plays on the filter control.

Let us say now the colors are to be proportioned together
and that a blue-green light is wanted of an .000017 millilambert
intensity; then one square in blue the following in green would
denote it. Change the places of these marked squares and the
accent would come on the green and green-blue would be the result.

It is right here that stress must be laid on the fact that color
sensations do not reach their full value immediately on application
of the stimulus nor do they decay to zero immediately upon the
cessation of the stimulus. It is for this reason that a rotating disc
made up of several colors will give the impression of one color.
It is only for this reason that the notes of music meant to act on
the dot of time can never suffice as marks for a stimulus of leisure
growth. Our forked lines give am.pleness of time for color change.

Practice only with a given light system will show where extra
symbols may have their own uses.

23

Saturation: —

From our experience the least trouble need be experienced
from the need for lessening the saturation, made by the addition
of white. White will turn red into pink, dark blue into paler
blue, etc.

It will be difficult to isola:te absolutely a spectral monochrome
so as to be devoid of white. The filter cannot be prevented from
fading.

It will be difficult to keep all vagrant light from filtering into
the auditorium by some means or other.

One light shining through the transom of a butler's pantry
into the Rose Room of the Bellevue-Stratford Hotel turned some
rehearsals in colored lighting into a nightmare for the anxious
operators — that one light did its effect on saturation so well.
A similar rehearsal in the hall of the Engineers' Club at Philadel-
phia was made similarly disappointing, though the window panes
had been covered with opaque paper, by an arc light a square
away in the street below making itself felt through this apparently
only partly opaque paper.

We know that red will show about ninety shades of saturation
This represents results in accurate and minute scientific research
on a restricted circular surface of red paper. A difference in color
was noted every 4 degrees of the 360 degrees or about one per cent.

We know that whole color systems of notation have taken
account of but ten shades and that increase of brightness will
bring a lessening of saturation automatically with it.

If, too, a filter be dyed graduated to let more white light
through toward one end than the other, this in itself will give
control of saturation.

In addition to all these ways by which saturation will be
lessened little pilot lights of white added to the powerful lights
can furnish measured units of white to pale the color as needed.

On the paper these can be represented by pi, p2, p3, or by a
symbol for a white light. In any case these marks can furnish
the measures. One working table of color gives two steps only
for unsaturated color.

24

Ensemble in light play: —

It goes without saying that where one or more Hght effects
are to be used as a foil one to the other that two or more complete
symbols will be placed one over the other as the scores of music
for different instruments playing simultaneously are tiered.

Time: —

Since the capacity for marking time is inherent to the body
the occasional metronome marks and the vertical bar lines of
music will answer all the time requirements of the art of light
succession also

I have the feeling that an art made up of light alone might
utilize larger spaces of bme as a big day, a big night envelops
much. But the heart is beating within, no matter how slowly the
Hght panorama shifts and the heart gaits the attention. Longer,
slower changes in light time can take place with music beating
quickly within, so feeding away the impatience, but even minute
lengths of sixty seconds are too long for the holding of attention
except for an East Indian philosopher and he, from all accounts
goes into fits over it. "Rest" marks used in music for absence of
sound would here denote absence of light or blackness. "No Erg"
would also mean the nothing of light.

Space lit: —

The amount of space lit must be made a "heading" direc-
tion. More lights for greater space and many times increased
where play of color is wanted.

It is quite within the realm of conception that patches of
variously colored light will be wanted, as let us say, purple over
the cellos while blue plays over the violins. In this case the written
word must give this direction. A colored light falling on a back-
ground of a different and supporting light suffusion would also
need a special noting and will refer, naturally, to a resistance slide
operating independently.

The beginning, the cessation of a given color must, of course,
always be carried on the mtensity mark.

Such directions as "gently, "violently, must, as in music,
be given in words.

25

In all this it is to be understood that every nomenclature
underlying an art is but a skeleton around which the artist must
build his creation. It is so with the notes of music. It is so with
the dramatic line. Not the finest of computed brightnesses will
be all sufficient for the artist. Only his instinct, his practice, his
taste will bring him where the light of his soul leads.

Another person may give a different light play to the same
works, or the same author might under another mood give still
another light accompaniment or vary one previously given. This
elasticity of interpretation through light proves the art.

Mary Hallock-Greenewalt.

Tout Pres

Wildwood Crest, New Jersey,

September 7, 1918.

26

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